Slant Magazine's Scores

Select another publication »
For 7,767 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 6.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mulholland Dr.
Lowest review score: 0 Jojo Rabbit
Score distribution:
  1. Positive: 4,344 out of 7767
  2. Mixed: 1,490 out of 7767
  3. Negative: 1,933 out of 7767
7767 movie reviews
view
per page
    • 78 Metascore
    • 75 Critic Score
    The Witches
    At the center of Roeg’s stylistic excess is Houston, balancing effortlessly between high camp and horror.
    • 48 Metascore
    • 75 Critic Score
    The Exorcist III
    Few people love William Friedkin, John Boorman, and Paul Schrader as much as I do, but in my book, of the six or so films that have tried to turn that tortured title into a continuing franchise, Blatty’s The Exorcist III is the best, hands down.
  3. Metropolitan
    Metropolitan celebrates and mourns the specific character of a place and time, youthful associations and crushes, a toolkit of values, even if those values are not exactly shared by, say, housewives in Duluth and auto mechanics in Albuquerque.
  4. Presumed Innocent
    Pakula plays to Ford’s strengths, allowing the actor to use his face more than his words to convey the doubt, shame, and self-loathing Rusty experiences. The film may be more outright gripping during the courtroom scenes, but the quieter scenes between Ford and Scacchi leave more lasting impressions.
    • 67 Metascore
    • 63 Critic Score
    Arachnophobia
    Arachnophobia isn’t great filmmaking, appearing to be kept in check by vaguely resembling Spielbergian entertainment without rising to its altitudes. But it’s a pleasant, acutely nostalgic elicitation of the VHS era and the woozy, preadolescent excitement of awaiting the next cranked-out Spielberg Xerox picture.
  6. Dick Tracy
    A highly impressive effort.
  7. Gremlins 2: The New Batch
    It’s a giddy, diabolical, and terminally underappreciated sequel to the film that made Joe Dante’s career.
    • 54 Metascore
    • 63 Critic Score
    Tales from the Darkside: The Movie
    Each mini-movie has the same tally of moments of greatness, grossness, and dullness, giving Tales from the Darkside: The Movie an even-handed feel.
  9. Henry: Portrait of a Serial Killer
    The film doesn't so much bring us closer to the serial murderer as it reminds us of our culpability as spectators.
  10. Sidewalk Stories
    Charles Lane’s 1989 indie Sidewalk Stories doesn’t just hark back to The Kid; it formally revives the Chaplin classic in the street theater of Dinkins-era Greenwich Village.
  11. Steel Magnolias
    MacLaine grabbing Dukakis by the bangs, shoving her head back with a sneering “Have your roots done,” radiates more feminine fellowship than a dozen sisterhoods of the travelling pants. Not bad for a movie that alternates the tragedy of dying young and beautiful against the comedy of growing old and bitter.
  12. Mystery Train
    Mystery Train is a singularly enthusiastic American anthem that trenchantly interprets the cult of audiophilia as filthy gas stoves roasting marshmallows, raspy radio DJs hawking fried calamari, and ill-equipped racial armies ignorantly clashing by night.
  13. The Little Mermaid
    The Little Mermaid is the story of one packrat pre-tween princess whose undersea kingdom is only matched in depth by her remarkable sense of consumer-minded entitlement.
  14. My Left Foot
    One hundred and six minutes is entirely too short a time span for Sheridan to cover Christy's entire life, but the performances are so profound they successfully fill in any and all gaps.
  15. The Fabulous Baker Boys
    The Fabulous Baker Boys ultimately soars on the strength of its three perfectly cast stars, who collectively wed studies of glamour (Jeff Bridges and Pfeiffer) with ruminations on the pain of life as an everyman among stars (Beau Bridges).
  16. Sweetie
    Sweetie’s brilliance stems from how Campion inventively explores the relationship between inanimate objects and personal memory, Sally Bongers’s static camera lingering on the precipice of a family unit brimming with secrets and lies.
  17. Casualties of War
    It stands as maybe the only great film by the director that I feel an unconscious crisis of conscience that makes me want to view it without an auteurist context.
  18. Kiki's Delivery Service
    Kiki presents a world of fantasy in such a genteel, unforced manner that it only seems ordinary and mundane. As such, it feels like a touchstone for all of Miyazaki’s later, even greater works of cartoon storytelling art.
  19. Grave of the Fireflies (1988)
    Isao Takahata makes survival the thematic core of the story, but he never degrades his characters or fetishizes their suffering.
    • 56 Metascore
    • 75 Critic Score
    Shag
    As for Fonda, the camera certainly loves her (to quote a famous line by Howard Hawks), but an actor needs a part that will make her a star, and few films since Shag have seen fit to play to her strengths, specifically that perky blond American sass of hers that found perfect expression here.
  21. Lethal Weapon 2
    But while the story may not be especially memorable, Jeffrey Boam’s brisk screenplay and Donner’s workmanlike direction keep things moving enough to gather enough momentum in preparation for Gibson’s third-act, tear-down-the-house rampage.
  22. Do the Right Thing
    Lee deftly follows the actions of two dozen people on what turns out to be one of the longest, hottest, most memorable and maybe most tragic days of their lives. And he does it without so much as a single lugubrious or extraneous moment.
    • 79 Metascore
    • 63 Critic Score
    For All Mankind
    If not the screen’s ultimate portrait of space travel, For All Mankind remains a peerless planetarium show.
  24. Miracle Mile
    Miracle Mile is one of the most fascinating curios of the ’80s, a disaster movie that turns the decade’s optimism back onto itself.
    • 44 Metascore
    • 50 Critic Score
    See No Evil, Hear No Evil
    Trapped inside its overwritten crime story is a breezy character study starring two men with genuine chemistry and a flair for both physical and verbal comedy. In the rare moments when Pryor and Wilder simply talk to each other, there’s the potential for a funny and poignant interracial two-hander like I’m Not Rappaport. It’s too bad that potential is squandered on a senseless murder plot.
    • 62 Metascore
    • 75 Critic Score
    Major League
    Comedy is the lasting virtue here—and more specifically what veteran screenwriter Ward (The Sting, Sleepless in Seattle) got out of a solid comic framework to make Major League continue to work beyond its odd collection of characters and a very specific setting.
  27. Castle in the Sky
    Miyazaki’s concerns with the fragility and wonder of our less tangible surroundings haunt the picture without overpowering it.
  28. Leviathan
    A mediocre, quasi-diverting B movie.
  29. Bill & Ted's Excellent Adventure
    The thorough goofiness the film luxuriates in, as compared to the covert self-seriousness of nearly every teen comedy ever made, sets Bill & Ted’s Excellent Adventure apart and heads and tails above the glut of its ilk. Most triumphant, indeed.
  30. Hellbound: Hellraiser II
    The sequel’s cure proves infinitely bloodier than the original’s disease, and its over-the-top depictions of brimstone and flesh are so loopy and unmoored, you’d swear the place where nobody dared to go suddenly became Xanadu.
Page:

Top Trailers

See all »
See all trailers »